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On with the Dance: Nation, Culture, and Popular Dancing in Britain, 1918-1945

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On with the Dance: Nation, Culture, and Popular Dancing in Britain, 1918-1945 On With the Dance: Nation, Culture, and Popular Dancing in Britain, 1918-1945 by Allison Jean Abra A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in the University of Michigan 2009 Doctoral Committee: Emeritus Professor Sonya O. Rose, Co-Chair Associate Professor Kali A.K. Israel, Co-Chair Associate Professor James W. Cook Jr. Associate Professor Beth Genné © Allison Jean Abra 2009 To my parents, Douglas and Glennis Abra ii Acknowledgements Conversations with some of my fellow graduate students over the years have revealed that we all spend a lot of time anticipating the moment when we will get to write our acknowledgements. Not only because it means we must be close to being finished, but because one really does accrue a lot of debts in the course of writing a dissertation! I first want to thank my dissertation co-chairs, Sonya Rose and Kali Israel, and my committee member Jay Cook. All three began advising me from my earliest days in graduate school, and their guidance has been invaluable to the completion of this dissertation. Not only did they all provide wonderful advice and intellectual support, but they each went above and beyond in various ways, hiring me as a research assistant or study abroad assistant, or providing me with a place to stay as a house-sitter while in London. I also want to thank my cognate committee member Beth Genné, who demonstrated so much enthusiasm for this project, and who provided helpful insights from the perspective of dance scholarship. I am also very grateful to all of the other faculty members I have had the opportunity to work with during my time at Michigan, in courses and preliminary exams, as a graduate student instructor, or through the many events that form the University’s vibrant intellectual community. I have learned a tremendous amount, and had a lot of fun along the way. I also owe a huge debt to the wonderful office staff in the History iii Department, particularly Lorna Alstetter, Kathleen King, and Sheila Coley, who were always so friendly and helpful, and kept me well on course towards finishing my degree. I would also like to express my appreciation to the various institutions which have funded the researching and writing of this dissertation. Within the University of Michigan, these have included the Department of History, the Rackham Graduate School, the International Institute, the Institute for Research on Women and Gender, and the Eisenberg Institute for Historical Studies. My work was also generously funded by a year-long fellowship from the Council on Library and Information Resources in Washington, D.C. Many of the above-named institutions were supportive not only in financial terms, but also provided seminars or workshops within which I found wonderful intellectual communities as well. I am also very grateful for the advice and assistance provided by the archivists and librarians at the many collections I visited in the course of researching this dissertation, including the Mass Observation Archive, the British Library, the British Newspaper Library, the National Archives of Britain, the National Archives of Scotland, the National Library of Scotland, the BBC Written Archives Centre, the Imperial War Museum, the London Metropolitan Archives, the Women’s Library, the Liverpool Record Office, the Museum of Liverpool Life, the Hammersmith Borough Archives, the Theatre Museum, and the Royal Opera House in Covent Garden. The knowledge and expertise of the staff in all of these archives was essential to helping me track down important sources, and shaping the development of this dissertation. iv While researching this project in Britain I was extremely fortunate to have always had the welcome of Mary and Neil Griffiths, my British family whose house in Gloucestershire has become my home away from home. I also want to thank Bob and Patricia Malcolmson for several great meals in London, and for their continued interest and advice on my work many years after Bob ceased being my M.A. adviser. I particularly want to thank my good friend David Meade, who generously housed me in London for weeks and months at a time, and eventually became something like the unofficial British host of many students in the Michigan History Department. In many ways the best part about the process of completing my dissertation, and graduate school in general, has been the wonderful community of graduate students at Michigan, a number of who have become life-long friends. I particularly want to mention Dan Livesay (my London roommate and archives buddy), Will Mackintosh, Sara Babcox First, Josh First, Katie Cangany (my sister-in-arms), Mary Livesay (history enthusiast), Diana Mankowski, Sara Lampert, Jeff Kaja, Ross Bowling, Jennifer Palmer, LaKisha Simmons, Meg Raphoon, Sarah McDermott, Katie Brokaw, Victoria Castillo, Cynthia Marasigan, Herbert Sosa, and especially Angela Dowdell, my fellow British historian, longtime roommate, and most essential support over the last seven years. I also want to thank my first grad school buddies, who have continued to provide many good times and an ongoing intellectual community long after we completed our M.A.’s: the Queen’s Clique – Jonathan Eacott, Amy Milne-Smith, Andrew Cranmer, and Brigid Quinlan. v As critically important as my graduate school friends have been and will be, I have also relied heavily on my close non-historian friends as well. My girls in Winnipeg have been encouraging and excited for me at every stage of the way. Phone calls, emails, visits, the 23rd Party, weekends at the lake – all of this has been essential to reminding me that there was still a world outside of grad school. There are too many of you to name, but I have to single out Andrea Murray, Margo Granda, and Jen Smith. Few people are lucky enough to have friends as great as you three. Finally, I want to thank my incredible family – my parents, Doug and Glennis Abra, my sister Kath Abra, and my brother Matt Abra, for their love and encouragement. Their unwavering support has been so vital to helping me complete this process, and I am more grateful than I can say to have such amazing parents and siblings. I also want to thank my grandparents, Shirley Williamson, Jim Williamson, Flic Trott, Marion Abra, and especially Jack Abra, who was a Lieutenant-Colonel in the Canadian Army during the Second World War, and lived through the events and performed many of the dances described in the following chapters. Grandpa Abra would have been a hundred years old on the day I defended this dissertation, and that seemed wholly appropriate. vi Table of Contents Dedication…………………………………………………………………………….. ii Acknowledgements…………………………………………………………………… iii List of Abbreviations…………………………………………………………………. ix Abstract……………………………..…………………………………………………. x Chapter 1. Introduction………………………………………………………………… 1 Defining “Popular” Dancing and its Producers and Consumers……….. 6 Historiographical Overview……………………………………………. 11 Sources………………………………………………………………… 19 Structure of the Dissertation…………………………………………… 21 2. Dancing in the English Style: Professionalization, Public Preference, and the Evolution of Popular Dancing……………………………………… 27 Modern Ballroom Dancing’s Early Days……………………………… 29 The Professionalization of Modern Ballroom Dancing………………… 45 The Standard Four and Beyond: What Britain Danced in the 1920s-1940s……………………………………………………………. 56 Conclusion……………………………………………………………… 80 3. Modern Dances and Modern Women: Gender and the Social Perception of Dancing………………………………………………………………….. 82 Grotesque or Good For You? Debates about Popular Dancing……….. 84 From “Flapper” to “Good-time” Girl: The Changing Image of the Woman who Danced………………………………………………….. 100 Conclusion……………………………………………………………. 124 4. Going to the Palais: Inside the Dance Hall Industry and the Commercial Cultures of Britain………………………………………………………… 127 Britain’s Public Dancing Spaces……………………………………… 129 Other Cultural Forms and Different Dancing Publics………………… 159 Conclusion……………………………………………………………. 185 5. The Dance Evil? Popular Dancing Spaces and the Quest for Respectability……………………………………………………………... 188 vii Dance Halls, Night-clubs, and the Quest for Respectability………….. 190 The Six Penny Dance Partner: Prostitute or Professional? ………….. 203 Conclusion……………………………………………………………. 219 6. From English Style to Lambeth Walk: Popular Dancing and National Identity in Interwar Britain……………………………………………….. 222 The English Style and the National “Temperament”………………… 224 Doing the Lambeth Walk……………………………………………. 248 Conclusion…………………………………………………………… 282 7. Performing the People’s War: Nation, Race, and Popular Dancing in Wartime Britain………………………………………………………….. 284 Dancing After the Siren……………………………………………… 286 Jitterbugging Towards Victory………………………………………. 308 “What are we going to do about this?”……………………………….. 334 Conclusion……………………………………………………………. 346 8. Conclusion……………………………………………………………….. 348 Bibliography…………………………………………………………………………. 356 viii List of Abbreviations BBC: British Broadcasting Corporation M-O A: Mass Observation Archive IWM: Imperial War Museum TNA: The National Archives PRO: Public Record Office AIR: Records created or inherited by the Air Ministry, the Royal Air Force, and related bodies CO: Records created or inherited by the Colonial Office HO: Records created or inherited by the Home Office LAB: Records of departments responsible for labour and employment matters and related bodies MEPO: Records of the Metropolitan Police Office PMC: Public Morality Council NVA: National Vigilance
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